A police detective investigating a jewel robbery discovers evidence that points to his girlfriend as the culprit, although she claims she was framed. He arrests her anyway, and she is ... See full summary »
Daisy Kenyon (Joan Crawford) is a commercial artist living in New York City and having a 'back street' affair with a married lawyer, Dan O'Mara (Dana Andrews), whom she hopes to marry as ... See full summary »
Barry Sulivan is a cynical gangster who controls the Neptune Beach waterfront. He runs a numbers racket with the local soda shop owner: the police are in his pocket and the local hoods are on his payroll.
Domineering Harriet Craig holds more regard for her home and its possessions than she does for any person in her life. Among those she treats like household objects are her kind husband ... See full summary »
A tough lady gangster learns that she will be totally blind within a week. She seeks help from the one eye surgeon who may be able to save her sight. In the process, he also causes her to ... See full summary »
The murder of gangster Nick Prenta touches off an investigation of mysterious socialite Lorna Hansen Forbes, who seems to have no past, and has now disappeared. In flashback, we see the woman's anonymous roots; her poor working-class marriage, which ends in tragedy and her determination to find "better things." Soon finding that sex appeal is her only salable commodity, she climbs from man to man toward the center of a nationwide crime syndicate...a very perilous position.Written by
Rod Crawford <email@example.com>
"Screen Director's Playhouse" broadcast a 60 minute radio adaptation of the movie on April 5, 1951 with Joan Crawford reprising her film role. See more »
[when she wants to stop helping a gangster friend]
This isn't a party you can leave when you get bored. We could have left, you and I, a long time ago. We were only guests then. But we stayed too late.
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"He's promised me the world, Marty, and I've got to have it."
Take the old true-confession formula, stylize it with some panache and crown it with gangster violence. For here we have crime and its pay presented in the old recognizable blueprint of invented realism. Here we have Crawford playing a discouraged blue-collar worker's wife who leaves her despondent situation for a high and mighty calling, working up in a gangland milieu to the position of elegant lady to an important gang boss and then collapsing back to roots when a mob war eliminates her man.
Crawford runs the gamut of affected behavior in her latter-day hard-edged, unsmiling fashion. As a manual worker's spouse, she plays it without make-up and with her face deeply oiled. As a cigar-store clerk and clothes model, she plays it gristly, speaking the tough guy's line and looking the simple men directly and callously in the face. And as the eventually sophisticated lady she gives it all the superior stateliness that goes with champagne buckets and Palm Springs swimming pools.
Nevertheless, the men who support her run her a very close race. David Brian as the prevailing bigwig crime boss appears and behaves like the urban rogue in bucolic traveling sideshows. When he comes to a line such as this one, "I like a woman who has brains, but when she also has spirit, that excites me," he practically ends it with a lusty snigger. And Kent Smith, as a public accountant whom Crawford ensnares in the syndicate, plays a milquetoast so absolutely that his entire performance seems a train of nervous swallows. Steve Cochran as a cunning West Coast heavy and Selena Royle as a vagrant socialite do their jobs in a standard B-story, A-budget way.
Then again, as with countless crime dramas and film noir of the era, thematic images slip their way into the story through the deliberate compositions that connect to the sleight of hand of your psyche. And the story is absorbing owing to its appeal to the B-side of its characters, and its awareness that the bigger the schism from one part of a character's life to another, the more dramatic the story. And it's fun to watch Crawford and her male co-stars tackle the psychology.
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